Stop Chasing Upper Structures: The Tonic vs. Non-Tonic Approach
What was the question?
Dave asked about using upper extensions and the circle of major/minor thirds to create lines over standard chord progressions like the 1-6-2-5. He noticed patterns where upper structures (like E minor 7 over C major 7) moved in specific ways and asked if this "upper structure" angle was worth prioritizing for creating lines on the fly.
(00:02)
The core idea (in plain English)
While thinking in upper structures is valid, it can lead to "chasing the changes" where you are constantly jumping mentally from one triad to another without seeing the bigger picture. A more efficient way to organize the fretboard is to categorize chords into only two functions: Tonic and Non-Tonic.
The main difference lies in scale degree 4. In a Tonic function (like C Major), you avoid the 4 (F). in a Non-Tonic function (Dominant or Subdominant), the 4 is present and essential. Instead of tracking four different upper structures for a 1-6-2-5 progression, you simply identify which chords are Tonic (use "West Lines") and which are Non-Tonic (use "Django Lines").
(08:09)
Fretboard breakdown (what to play)
Instead of jumping around trying to hit every specific chord extension, look for the unity in the progression.
Identify the Function:
Tonic: C Major 7, E minor 7, A minor 7. (No scale degree 4).
Non-Tonic: D minor 7, G7, B minor 7 flat 5. (Contains scale degree 4).
(10:50)
Apply the Line Type:
When the chord is Tonic, apply West Lines (Wes Montgomery🔗 style, grounded, stable).
When the chord is Non-Tonic, apply Django Lines (Django Reinhardt style, tension-building, dominant/diminished sounds).
The Switch:
In a progression like "Fly Me to the Moon," notice how the harmony alternates. The Non-Tonic becomes Tonic, and then the Tonic moves to a new Non-Tonic. You are simply switching between two modes of playing rather than four different scales.
(12:30)
Common mistake to avoid
Do not try to memorize harmony just by looking at a theory book or writing it down on paper. A common pitfall—which often happens in academic settings—is learning the theory of upper structures without physically practicing the target notes (specifically the thirds) on the instrument to hear how they connect. If you cannot hear the connection, the theory remains abstract math.
(15:43)
A 10-minute practice assignment
Take a standard 1-6-2-5 progression in C Major (Cmaj7 - Am7 - Dm7 - G7).
Instead of playing arpeggios for each chord, target only the 3rd of each chord using the Tonic/Non-Tonic logic.
Play a simple "West Line" phrase over the Cmaj7 and Am7 (Tonic).
Switch to a "Django Line" (or dominant idea) for the Dm7 and G7 (Non-Tonic).
Notice how you don't need to move your hand position drastically to "chase" the upper structures; the notes are often right under your fingers.
(18:10)
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